Donna Lucia's tumultuous week

Week of February 8, 2000

I hate writing when I'm depressed. This week definitely had a low point, but fortunately finished on a high spot

Tuesday rehearsal

Our leading man is absent. There is a certain bond that actors form when putting on a play. You become dependent on each other since your performance does not exist in a vacuum. If one person has a hard time remembering their lines or blocking, it affects the others. We draw on and play off each other. We really want each other to succeed and will help in any way we can. If someone is missing, especially an important player, the tension level instantly escalates and puts pressure on the rest of us. It's not a good beginning, but we all give a credible performance, some still struggle with book in hand. I really feel for them, because they have so many lines to learn. This will be my second week totally off book, but I don't have nearly the number of lines some have to learn. Although it is twice the number from my last play! This is a very wordy play...not for the faint of heart!

Oh oh oh!!! The costume designer has finally appeared with her rack of wares. How exciting! We're going to dress our characters, bring them to life visually. Sir Francis is looking like a Dickens character, perhaps Netty Bobbins. Poor Kitty is miserable moping around in a  blue flowered shirt with yellow lace tacked on it, although her lemon colored skirt is quite nice.  Ella is pleased with her burgundy skirt, but it's a bit long. Hmmmm, who's this absolutely stunning sophisticated black & white herringbone traveling suit with a black velvet collar for? Moi? Please please please! NO! It's too modern, not 1890's at all. Drat! Out comes a huge skirt, polished cotton, that looked like "French Silk" chocolate frosting. You know, that glazed milk chocolately stuff. A matching little traveling jacket appears and I'm told to grab a full length multi-tiered petticoat have give it a try.

The skirt fits, almost, but a safety pin takes care of the extra inch I need around the waist band. The top, however, is another matter. I imagine a woman with a truly well endowed bosom once parading around in this number. Turns out it was a dress used in the production of "Little Women". Well there was nothing little about the character that wore that top! Kathy, the imperturbable costume designer, rushes into the room with a box of pins and accessories. A pin here, a tuck there, the thing fits!

"What about my evening gown, I'm suppose to change for dinner in Act III."

"No problem, this outfit has an evening top."

Out comes a low-cut bodice with lace sleeves that snaps into the waistband of the skirt. After more pins, more tucks, a string of pearls, gorgeous diamond & pearl earrings that drip from my ears framing my face. Wow! We're going dancing! Well not really, but I certainly feel like it, especially when she comes in with the lace over skirt. It's huge! Solid lace! Almost a puce brown, absolutely stunning, if not overwhelming. Heck, I'm Donna Lucia, I can pull this off! It's too long, so Kathy grabs tight little handfuls of lace half way down and bunches little swags into place. The full length cream gloves finish off the outfit. What fun! Now, the hard part...learning to walk and perform in this costume. My goodness, I look like a chocolate cake! You know, those half sphere cakes that simulate the skirt of the stuck a doll in the center. And with the evening version...I look like a decorated cake!!!

Wednesday rehearsal

Our leading man is sick with stomach flu and won't becoming in! Panic sets in. We're already nervous enough as it is, now we're unnerved and truly dismayed. Nothing goes right, missed cues, dropped lines, blocking flubbed up, we can do nothing right. We know it, we don't need to be told, but we are berated anyways. It does nothing to help our state of mind. I go home quite depressed, feeling a major cold coming on and wondering what in the heck I'm doing subjecting myself to all this. I've tried to rework my character using some of the advice the director has given me, but it obviously isn't working. Many suggestions have worked, but some have not. The stress is starting to bring on a migraine. I wonder if all community theatre productions are this chaotic?

Thursday rehearsal

I've been reading "An Actor Prepares" by the great Russian acting teacher, Stanislavski. It was given to me my good buddy and director friend Marti Franks as present for my successful performance as Sarah in "Goodbye Howard".

The student asks, "If imagination plays such an important part in an actor's work, but can he do if he lacks it?"

The teacher replies, "He must develop it, or leave the theatre. Otherwise he will fall into the hands of directors who will make up for his lack by using their own imaginations, and he would become a pawn. Wouldn't it be better for him to develop an imagination of his own?"

I lay there in bed pondering this dilemma. I know who Donna Lucia is, I've known all along. It's up to me to take control and bring her to the stage. I look my script over again for the bazillion time. The words, my lines in the play are now mine. I read the script and the words look strange and foreign. They have little meaning sitting on the page. They exist in my mind now, complete with a range of emotions and the feeling toward the other characters.

Thursday night, for the first time, I don't ask anyone's advice or opinion. I take the character over myself. I'm proud of her and I concentrate on each scene, not playing it as Suzanne with an audience looking on, but as Donna Lucia intently interacting with the other characters. What does she see, how does she feel, how does she react! Many little nuances suddenly appear. I become truly indignant with certain characters and can barely contain my laughter behind my fan with others.

The entire company is present. Not all off book yet, but very close. Brasset is coming into her own, looking wonderful in her halo of silver hair and gray costume with delicate lace at the neck and wrist. So huffy and indignant she looks when confronted with the unreasonable Jack. Kitty is developing a glow when she gazes at Jack, but is cynical enough to know she must plan their engagement because he really is incapable. Ella dances like a butterfly in front of me, dreaming about her lost lover to be. New costumes for almost everyone and they are all pleased. You can see it in the way they carry themselves.

I see a play coming together. It's exciting. My headaches dissolves into a happy calm. This is the part I love in my art work as well, the idea, the sketch, the essence of vitality before a painting or weaving is completed. Last night I felt my depression pulling me down and my health draining away. Tonight the fog is lifted. I'm exhausted, but pleased. Amazing. I'm trying hard to make it to opening night without getting sick.

Only two more rehearsals...not enough, but it will have to be. One on Sunday, the last on Monday, that one will be without book in hand, AND without prompting of any sort. If you screw up, tough, make it up and see it through. Tuesday we go black...that means no rehearsals, nothing, the theatre is dark. Wednesday is dress rehearsal--BUT that is actually our first performance. In costume, no prompting, and with an audience. Thursday...opening night. Excuse me, but Donna Lucia needs her rest tonight. Au revoir!

Yours no longer studying the script, but pondering her character,
Suzanne & Cassis (That means she had Friday off, so I got a bath...yuck!)

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